Mostrando postagens com marcador Robert Fripp. Mostrar todas as postagens
Mostrando postagens com marcador Robert Fripp. Mostrar todas as postagens

segunda-feira, 21 de setembro de 2020

VAN DER GRAAF GENERATOR - Pawn Hearts (1971-2005) RM / SHM-CD / FLAC (image+.cue), lossless

Van Der Graaf Generator’s third album, Pawn Hearts was also its second most popular; at one time this record was a major King Crimson cult item due to the presence of Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, “Lemmings,” calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant. Peter Hammill vocalizes in a more traditional way on “Man-Erg,” against shimmering organ swells and Guy Evans’ very expressive drumming, before the song goes off on a tangent by way of David Jackson’s saxes and some really weird time signatures — plus some very pretty acoustic and electric guitar work by Hammill himself and Fripp. The monumental “Plague of Lighthouse Keepers,” taking up an entire side of the LP, shows the same kind of innovation that characterized Crimson’s first two albums, but without the discipline and restraint needed to make the music manageable. The punning titles of the individual sections of this piece (which may have been done for the same reason that Crimson gave those little subtitles to its early extended tracks, to protect the full royalties for the composer) only add to the confusion. As for the piece itself, it features enough virtuoso posturing by everyone (especially drummer Guy Evans) to fill an Emerson, Lake & Palmer album of the same era, with a little more subtlety and some time wasted between the interludes. The 23-minute conceptual work could easily have been trimmed to, say, 18 or 19 minutes without any major sacrifices, which doesn’t mean that what’s here is bad, just not as concise as it might’ve been. But the almost operatic intensity of the singing and the overall performance also carries you past the stretches that don’t absolutely need to be here. The band was trying for something midway between King Crimson and Genesis, and came out closer to the former, at least instrumentally. Hammill’s vocals are impassioned and involving, almost like an acting performance, similar to Peter Gabriel’s singing with Genesis, but the lack of any obviously cohesive ideas in the lyrics makes this more obscure and obtuse than any Genesis release. by Bruce Eder   

Tracklist:
1. Lemmings (including Cog)
2. Man-erg
3. A Plague Of Lighthouse Keepers
- Bonus Tracks - 
4. Theme One (Original Mix)
5. W (First Version)
6. Angle Of Incidents
7. Ponker’s Theme
8. Diminutions
Personnel:
Peter Hammill – lead vocals, acoustic and slide guitar, electric piano, piano
Hugh Banton – Hammond and Farfisa organs, piano, mellotron, ARP synthesizer, bass pedals, bass guitar, backing vocals
Guy Evans – drums, tympani, percussion, piano
David Jackson – alto, tenor, and soprano saxophones, flute, and backing vocals
Additional personnel:
Robert Fripp – electric guitar ("Man-Erg" and "A Plague of Lighthouse Keepers" and near the end of the song)

sábado, 29 de agosto de 2020

ANDY SUMMERS / ROBERT FRIPP - I Advance Masked (1982-2002) RM / FLAC (tracks+.cue), lossless

Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China -- Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album. I Advance Masked has a dreamlike quality to it, and is definitely not typical rock music. It's highly recommended to fans of these two great and original guitarists. by Greg Prato 
Tracklist:
1 I Advance Masked 5:12
2 Under Bridges Of Silence 1:42 
3 China - Yellow Leader 7:09
4 In The Cloud Forest 2:30 
5 New Marimba 3:38
6 Girl On A Swing 2:04
7 Hardy Country 3:02
8 The Truth Of Skies 2:06
9 Painting And Dance 3:25
10 Still Point 3:07
11 Lakeland / Aquarelle 1:43
12 Seven On Seven 1:37
13 Stultified 1:28
Credits:
Electric Guitar, Synthesizer [Roland, Moog, Roland Guitar Synthesizer], Bass [Fender], Percussion [Various], Producer, Written-By – Andy Summers, Robert Fripp

ANDY SUMMERS / ROBERT FRIPP - Bewitched ((1984-2002) RM / FLAC (tracks+.cue), lossless


On Andy Summers and Robert Fripp's second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair -- at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity. For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in "Maquillage"), without making them seem like an obvious attempt to impress fellow musicians. Although '80s-sounding electronic drums are primarily used for backbeats (such as the track "Train"), it doesn't take away from the album's charm. Whereas their last album featured a few compositions that were quite King Crimson-like, their sophomore effort contains a few that sound like Police instrumentals (the title track). Unfortunately, Bewitched would prove to be Summers and Fripp's last collaboration together. by Greg Prato 

Tracklist:
1 Parade
2 What Kind Of Man Reads Playboy 
Composed By – Andy Summers, Robert Fripp
3 Begin The Day
Composed By – Andy Summers, Robert Fripp
4 Train
5 Bewitched
6 Tribe
Composed By – Andy Summers, Robert Fripp
7 Maquillage
Composed By – Andy Summers, Robert Fripp
8 Guide
9 Forgotten Steps
10 Image And Likeness
Credits:
Bass – Chris Childs, Sara Lee
Composed By – Andy Summers (tracks: 1, 4, 5, 8, 9)
Drums – Paul Beavis
Saxophone – Chris Winter
Synthesizer [Roland Gr700 & 300, Jupiter 6, Jx 3p], Sequencer [Msq 700 Sequencer], Drum Machine [Tr909 Drum Machine], Acoustic Guitar, Electric Guitar, Percussion, Loops, Other [Water Bucket] – Andy Summers, Robert Fripp
Tabla – Jesse Lota